Bill Goodykoontz
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For 1,002 reviews, this critic has graded:
  • 69% higher than the average critic
  • 3% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Bill Goodykoontz's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Boyhood
Lowest review score: 20 Furry Vengeance
Score distribution:
1,002 movie reviews
    • 31 Metascore
    • 60 Bill Goodykoontz
    A movie that makes little sense, is dumb when it's not being stupid and yet is still at times laugh-out-loud funny.
    • 55 Metascore
    • 60 Bill Goodykoontz
    As a film, it’s like science fiction, a visit to Planet Obscenely Wealthy. It is weirdly compelling.
    • 61 Metascore
    • 60 Bill Goodykoontz
    A perfectly serviceable thriller, smarter than many, but it has too much of a reputation to live up to.
    • 48 Metascore
    • 60 Bill Goodykoontz
    Although the film features a powerhouse performance by Clarke Peters as Da Good Bishop Enouch Rouse, it's saddled with a sloppy story.
    • 61 Metascore
    • 60 Bill Goodykoontz
    Does the movie have anything new to say, anything different from John G. Avildsen's 1984 original, with Ralph Macchio and Pat Morita? Not particularly.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Fichtner is always good; just trying to sort out his accent here is kind of fun. Plotnick is the key, however. He plays it straight, even as the world around him grows weirder by the minute. Often he seems confused by the proceedings, which is fitting: Join the club, pal. But we’re having a better time of it than he is.
    • 48 Metascore
    • 60 Bill Goodykoontz
    Clearly set up to be the first film in a franchise. It's not a bad movie, but I wouldn't hold my breath for that.
    • 33 Metascore
    • 60 Bill Goodykoontz
    Just Go with It provides not only the title of the film but a one-step instruction for how best to enjoy it.
    • 53 Metascore
    • 60 Bill Goodykoontz
    It just sort of chugs along in predictable fashion, bolstered by a couple of good performances here, thrown off-track every now and then by implausible or unearned developments there, but overall a decent effort.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Jack Ryan: Shadow Recruit is a well-made movie, well-acted (Costner and Branagh seem to be having an especially good time) and a pleasant diversion. They’ll probably make several more. But it doesn’t exactly put the “thrill” in action thriller.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The intentions are solid here, but the execution is not... But the actors are compelling, and the issue is, of course, always worth discussion. It's not a great movie, but, if nothing else, Frontera is worthwhile on those fronts.
    • 46 Metascore
    • 60 Bill Goodykoontz
    It's an interesting idea that loses steam as it gains gore. The development of the story is much better than the payoff. It's fun while it lasts.
    • 47 Metascore
    • 60 Bill Goodykoontz
    It offers Bratt maybe his best role ever as Che, a tough-guy neighborhood personality struggling to come to grips with his son's homosexuality.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Forget Team Edward vs. Team Jacob. I'm backing Team David, as in David Slade, the director who has finally managed to breathe some life into the "Twilight" series, heretofore a deadly dull undead undertaking.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Pacino and his director don't get back to basics — given that Pacino plays the title character, an aging rock star who long ago sold out, that wouldn't make sense. But the actor brings such a charming attitude to the role that his performance feels far more genuine than the story itself.
    • 68 Metascore
    • 60 Bill Goodykoontz
    The film is interesting and at times enlightening, but it's all over the map.
    • 62 Metascore
    • 60 Bill Goodykoontz
    A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.
    • 44 Metascore
    • 60 Bill Goodykoontz
    This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.
    • 38 Metascore
    • 60 Bill Goodykoontz
    Hafstrom creates a nice, creepy vibe, especially for the first part of the movie, which has a menacing atmosphere. Too bad he doesn't sustain it.
    • 53 Metascore
    • 60 Bill Goodykoontz
    Director Mark Waters manages to wring some charm out of the film, and out of Carrey.
    • 47 Metascore
    • 60 Bill Goodykoontz
    Odd indeed. In a good way, mostly.
    • 55 Metascore
    • 60 Bill Goodykoontz
    Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.
    • 54 Metascore
    • 60 Bill Goodykoontz
    The best of the lot. It's not great, but the mean-spiritedness that permeated the first film and stuck around a bit for the second is mostly gone.
    • 53 Metascore
    • 60 Bill Goodykoontz
    Acting (and story) take a back seat to the visual display. Eubank shows confidence with each shot, whether it takes place in a desert vista or a clinical government slab. What's it all mean? It's unclear, except meaning that Eubank is a talent to watch.
    • 52 Metascore
    • 60 Bill Goodykoontz
    Thanks to a good cast and a willingness to stray fairly far afield from the source material, it’s better than you might think.
    • 47 Metascore
    • 60 Bill Goodykoontz
    The acting is good, the story of doomed lovers suitably tragic. But the film is never quite moving in the way one would hope.
    • 63 Metascore
    • 60 Bill Goodykoontz
    Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.
    • 74 Metascore
    • 60 Bill Goodykoontz
    Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.
    • 32 Metascore
    • 60 Bill Goodykoontz
    There are few issues more bitterly divisive than abortion, with emotions and rhetoric running at fever pitch. October Baby is a faith-based movie that resides staunchly in the pro-life camp. Yet directors Andrew and Jon Erwin, who also contributed to the story, rarely let their film get didactic, instead going for a more low-key approach.
    • 47 Metascore
    • 60 Bill Goodykoontz
    Probably it's a combination of those and other elements that leads to Diaz's bad teacher not being as bad as she might have been and Bad Teacher not as good as it could have been.
    • 52 Metascore
    • 60 Bill Goodykoontz
    The film looks terrific, with a fantastical forest coming to 3-D life. Swooping birds, flying arrows and more make good use of the technology. But the best films use technology as a storytelling device, not as a substitute for story itself.
    • 41 Metascore
    • 60 Bill Goodykoontz
    While the good outweigh the bad, it's a close race. But what is good, particularly a heartbreaking performance by Allison Janney, is really good, enough so that Colfer emerges as a talent worth watching on the page, not just on the screen.
    • 41 Metascore
    • 60 Bill Goodykoontz
    The movie drags on way too long, but there are things to like.
    • 51 Metascore
    • 60 Bill Goodykoontz
    There's nothing bad about Skateland, in fact, particularly for those old enough to remember the clothes, the feathered hair and the soundtrack. There's just nothing new, or anything that hasn't been done before, and better.
    • 49 Metascore
    • 60 Bill Goodykoontz
    It’s easy to roll your eyes at what we see in “One Track Heart,” but harder to dismiss the happiness and peace on display here.
    • 56 Metascore
    • 60 Bill Goodykoontz
    It’s engaging at times and wonderful to look at, but feels like it’s on the cusp of something bigger. But whatever that bigger thing is, it never arrives.
    • 46 Metascore
    • 60 Bill Goodykoontz
    From its bland title to its fair-to-middlin' story, mediocre is the word that fits How Do You Know perfectly.
    • 60 Metascore
    • 60 Bill Goodykoontz
    The filmmakers work at creating a new take on an old protagonist and then don’t really have much new to do with him once they’ve achieved that. It’s a good effort. Just not an entirely successful one.
    • 56 Metascore
    • 60 Bill Goodykoontz
    [Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.
    • 62 Metascore
    • 60 Bill Goodykoontz
    It's easy to get sucked into Begin Again, to enjoy the friendly performances and the goes-down-easy songs, and to not even notice until it's over that the film is more a feel-good fairy tale than anything else. We might not have seen much that was truly meaningful in the end, but it was warm and fuzzy while it lasted.
    • 45 Metascore
    • 60 Bill Goodykoontz
    The overall feel is one of a generic, feel-good drama, albeit one with Harrison Ford stomping around most of the time as if someone kicked him in the shins. One suspects that this is a story that deserved better.
    • 55 Metascore
    • 60 Bill Goodykoontz
    The jokes only make up for the pedestrian plot for so long. There was a time when animated fare with generic stories sufficed. But now we expect more from them, because they have, pardon the pun, evolved. The Croods, like its title family, hasn’t.
    • 37 Metascore
    • 60 Bill Goodykoontz
    Unfortunately, screenwriter Christopher Bertolini has given Eckhart and Liebesman a story so riddled with war-movie cliches that it contains almost nothing else.
    • 55 Metascore
    • 60 Bill Goodykoontz
    The problem with V/H/S, a compilation of sometimes scary horror shorts loosely bound by an overarching plot, is that, no matter how savage, evil or sadistic the killer, the victims almost always come off as bigger jerks.
    • Arizona Republic
    • 59 Metascore
    • 60 Bill Goodykoontz
    In Run All Night, Neeson gives us more of the same, although with Collet-Serra's assistance, it's dressed up in a more interesting package.
    • 45 Metascore
    • 60 Bill Goodykoontz
    There is a sweetness to Radnor's character and to his film. What there is not is a sense of urgency, of a desire to find out what happens next.
    • 45 Metascore
    • 60 Bill Goodykoontz
    "Southern fried" is as good a phrase as any to describe The Paperboy...It fits, really, because it causes the same reaction. You eat a mess of fried okra or tater tots, and it's tasty going down. It's only after you're done that you feel a little queasy. [18 Oct 2012]
    • Arizona Republic
    • 44 Metascore
    • 60 Bill Goodykoontz
    If you're willing to accept Killer Elite as a shoot-'em-up action movie with good actors taking the spots of the usual lunk heads (but spouting the usual nonsense), you'll be pleased with the film.
    • 61 Metascore
    • 60 Bill Goodykoontz
    What you would expect from the third film in an unlikely franchise: less of the same.
    • 62 Metascore
    • 60 Bill Goodykoontz
    Subtlety may not be Watkins' strong suit, but he knows how to frame a scene for maximum tension and dread.
    • 60 Metascore
    • 60 Bill Goodykoontz
    At Middleton is an almost completely inauthentic little romance that is so genuinely pleasant you’ll enjoy it anyway.
    • 52 Metascore
    • 60 Bill Goodykoontz
    It comes down to a matter of tone, and Clooney can’t really settle on one. The Monuments Men is in no way a bad movie. Just, with this bunch, a disappointing one.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Quirky, funny and a little claustrophobic (by design), it’s confident enough in what it’s trying to accomplish to take the chance on the title. And what he’s trying to accomplish is ambitious.
    • 52 Metascore
    • 60 Bill Goodykoontz
    Too often Washington is made to simply sit and observe -- which is not a fatal mistake because he is such a good actor that even then he's worth watching. Worse, though, at times he's gone altogether. That's not the only flaw in the fairly straightforward thriller, but it's the biggest.
    • 63 Metascore
    • 60 Bill Goodykoontz
    Even as big-budget blockbusters go, this is a hard movie to connect with.
    • 58 Metascore
    • 60 Bill Goodykoontz
    The good news is that it's better than the second "Men in Black." The bad news is: not all that much. There are a couple of clever ideas, a few funny moments, a wealth of computer-generated special effects. But it's hollow at its core, and the asides have lost some of their spark.
    • 64 Metascore
    • 60 Bill Goodykoontz
    The problem with Peyton Reed's film is that when he shrinks the always-affable Paul Rudd, he shrinks a big part of Rudd's charisma, too.
    • 54 Metascore
    • 60 Bill Goodykoontz
    This is an incredibly creative film, but, unlike other Gondry films such as "Eternal Sunshine of the Spotless Mind" and the documentary "Is the Man Who Is Tall Happy?" it doesn't add up to much.
    • 48 Metascore
    • 60 Bill Goodykoontz
    Just good enough to pique your curiosity, but never quite good enough to captivate.
    • 36 Metascore
    • 60 Bill Goodykoontz
    Brand ultimately can't make a watered-down Arthur as sweetly charming as the original, but he certainly makes it better than it would have been otherwise.
    • 36 Metascore
    • 60 Bill Goodykoontz
    Thanks to Highmore's performance, George is worth sticking around for - and thanks almost exclusively to Highmore and Roberts, so is The Art of Getting By.
    • 48 Metascore
    • 60 Bill Goodykoontz
    Song One is an odd little movie. It seems as if there is more going on than there is, which you realize after it's over. As pleasant diversions in the moment go, however, you could do much worse.
    • 38 Metascore
    • 60 Bill Goodykoontz
    Good in spots, overall Cage is fine. Nothing more, nothing less. Kind of like Seeking Justice.
    • 62 Metascore
    • 60 Bill Goodykoontz
    The story is just so downright weird that the film can't help but be compelling. Just not as compelling as it could have been.
    • 58 Metascore
    • 60 Bill Goodykoontz
    There is something to be said for giving people what they want, but there are no surprises in Randy Brown's script, and Lorenz plays it safe. It's feel-good stuff; you wonder what Eastwood, a terrific director, might have done with it behind the camera.
    • 28 Metascore
    • 60 Bill Goodykoontz
    There are no surprises here, just a by-the-numbers comedy that's better, and funnier, than it has a right to be, thanks to the efforts of the actors in it.
    • 57 Metascore
    • 60 Bill Goodykoontz
    It has a great voice cast, a kinda-sorta interesting premise and the 3-D is effective, but somehow it just doesn't add up.
    • 49 Metascore
    • 60 Bill Goodykoontz
    What raises it a notch above the typical slick Hollywood romances are its stars, Ludivine Sagnier and Nicolas Bedos.
    • 49 Metascore
    • 60 Bill Goodykoontz
    American Reunion depends more on the audience's feelings for recognizable characters than telling an original story, so adjust your expectations accordingly.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Bright Days Ahead offers an interesting twist on the May-December romance.
    • 61 Metascore
    • 60 Bill Goodykoontz
    17 Girls doesn't try to explain its many mysteries. That would have made for a better film, but this one does a nice job showing its effects.
    • 57 Metascore
    • 60 Bill Goodykoontz
    Scott Frank's atmospheric thriller is a step up from Neeson's usual shoot-'em-ups. Not a giant leap, but a step up nonetheless.
    • tbd Metascore
    • 60 Bill Goodykoontz
    It doesn’t offer anything new to the genre, but chugs along pretty well until the plot holes begin to pile up.
    • 51 Metascore
    • 60 Bill Goodykoontz
    Despite a couple of powerful performances, a big-name cast and an ambitious structure, Lovelace...feels oddly half-baked, almost unfinished.
    • 66 Metascore
    • 60 Bill Goodykoontz
    It’s fun while it lasts, but ultimately forgettable, kind of like the people they stole from.
    • 38 Metascore
    • 60 Bill Goodykoontz
    The big-screen version of Entourage is constructed like the series, another chapter in a sequel-ready story. If you wanted something more, you won't get it. But you will get this, and if it does well, likely more of it.
    • 48 Metascore
    • 60 Bill Goodykoontz
    It never quite adds up. You can’t shake the feeling that both Scott and McCarthy are aiming for something here that remains out of their reach.
    • 51 Metascore
    • 60 Bill Goodykoontz
    The acting is first rate, the story still heartbreakingly urgent. But ultimately Parkland plays more like a re-enactment than a film in its own right.
    • 47 Metascore
    • 60 Bill Goodykoontz
    Although it has some serious flaws, it rises above genre fare, thanks to Greg Kinnear's intriguing performance and the work of a good cast.
    • 49 Metascore
    • 60 Bill Goodykoontz
    The director is known for visually quirky choices and offbeat interviews and asides. These techniques can be a mixed bag; sometimes they help lighten up a deadly serious segment, other times they seems silly. But it’s distinctive, and “This Is Us” could have used more of it.
    • 52 Metascore
    • 60 Bill Goodykoontz
    Fast-moving, stylish and gritty, but also predictable. [25 Oct 2012]
    • Arizona Republic
    • 55 Metascore
    • 60 Bill Goodykoontz
    It’s not as good, nor as involving, as “Love Actually.” But like that film, it has Bill Nighy, and that’s good for something.
    • 48 Metascore
    • 60 Bill Goodykoontz
    The singing is terrific, particularly whenever Hudson belts out a number (and there is really no other way to describe her powerhouse vocals). But the story is trite and predictable, if heartfelt.
    • 60 Metascore
    • 60 Bill Goodykoontz
    Madagascar 3 has a problem: It rarely slows down enough to let us really enjoy it.
    • 56 Metascore
    • 60 Bill Goodykoontz
    Taking the bad-cop genre to the extreme, Filth lives up to its title and then some, but a no-holds performance by James McAvoy is reason enough to watch.
    • 48 Metascore
    • 60 Bill Goodykoontz
    Sure, these roles aren't exactly a stretch, with Duvall being crotchety and Downey being sharp-witted. But that familiarity is part of the appeal. They're good at this. Really good. After all, as has been noted, they're not movie stars for nothing.
    • 54 Metascore
    • 60 Bill Goodykoontz
    The film does not have the courage of the book, which felt no need to tie a nice pretty bow on everything. But it's fun enough for a good while (it's only 81 minutes long), and that's enough.
    • 53 Metascore
    • 60 Bill Goodykoontz
    Grunberg and Boyar have a charming, if broad, chemistry. It’s all kind of cheesy, of course, but it’s meant to be. And the effects, when not deliberately silly, aren’t bad.
    • 73 Metascore
    • 60 Bill Goodykoontz
    The film soldiers on through a couple of possible endings, and if its real destination is never truly in doubt, Mbatha-Raw makes the trip interesting.
    • 40 Metascore
    • 60 Bill Goodykoontz
    It would benefit greatly from having real actors in the major roles. That the bad guys -- who are actors -- are more charismatic is certainly not due to the fact that we are on their side. It's because they know how to make us want to watch.
    • 58 Metascore
    • 60 Bill Goodykoontz
    Uplifting, it's not. But Low Down is a worthwhile look at a deeply flawed man, his daughter, and the unusual bond that existed between them.
    • 51 Metascore
    • 60 Bill Goodykoontz
    Although there are moments of humor in the film, many of them supplied by the delightful Jones, there are also long stretches of, um . . . "blah" might be the best word for it.
    • 39 Metascore
    • 60 Bill Goodykoontz
    The Green Hornet, which strives to be a different take on the superhero genre, is an interesting film - until it devolves into abject stupidity.
    • 54 Metascore
    • 60 Bill Goodykoontz
    A Little Help is worth watching, mostly for Fischer.
    • 55 Metascore
    • 60 Bill Goodykoontz
    The acting is really good, particularly Leonardo DiCaprio as Gatsby. But boy, with a running time of nearly 21/2 hours and a near-constant bombardment of visual overstimulation, it’s exhausting.
    • 52 Metascore
    • 60 Bill Goodykoontz
    Rudderless is a quietly ambitious film, and if it eventually collapses under the dramatic weight it's asked to shoulder — and it does — at least it's trying.
    • 55 Metascore
    • 60 Bill Goodykoontz
    Wahlberg and Washington are so good together, quips flying as fast as lead, that much is forgiven.
    • 64 Metascore
    • 60 Bill Goodykoontz
    Melfi, who also wrote the script, goes for broke on the sappy front. It's a credit to Murray's skill — or maybe the strength of his personality — that he never submits completely to all the heart-string tugging.
    • 49 Metascore
    • 60 Bill Goodykoontz
    It's all well done and cute and forgettable.

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